(November 17, 1503 - November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects.
Bronzino was born in Florence. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo. The latter was ultimately the primary influence on Bronzino's developing style and the young artist remained devoted to his eccentric teacher. Related Paintings of Angelo Bronzino :. | Eleonora di Toledo | The Panciatichi Holy Family | Portrat des Bartolomeo Panciatichi | Portrait of Ludovico Capponi | The Adoration of the Shepherds | Related Artists:
Ernest Francis Vacherotpainted Arrival of Marshal Randon in Algiers in 1857.
Sofonisba Anguisciola1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.
Joseph Vivien (1657 - 5 December 1735) was a French painter of Lyon.
He left his native Lyon for Paris at the age of twenty and found employment in the large atelier of Charles Le Brun, the equivalent of an academy. He made his reputation by his portraits in pastels, to which he gave a sparkle and immediacy hitherto unreached in that medium.
He was received in the Academie royale de peinture et de sculpture in 1701, under the designation peintre en pastel. He was appointed counsellor to the Academy and provided lodging under royal auspices at the royal manufactory of the Gobelins.
From Paris he visited Brussels. Vivien was taken up by the francophil Elector of Cologne and worked at Munich, as first painter to the Elector's brother, Maximilian Emmanuel, Elector of Bavaria.
